"than diminished by the secrecy with which Verdi surrounded the preparations; rehearsals were in private, and the press was kept at arm's length. Apart from Verdi's outrage at the way that La Scala announced the season's programme on 7 December – ""either a revival of ""Tannhäuser"" or ""Falstaff"""" – things went smoothly in January 1893 up to the premiere performance on 9 February. The first performance of ""Falstaff"" was at La Scala in Milan on 9 February 1893, nearly six years after Verdi's previous premiere. For the first night, official ticket prices were thirty times greater than usual. Royalty, aristocracy,"
"Falstaff (Elgar) Falstaff – Symphonic Study in C minor, Op. 68, is an orchestral work by the English composer Edward Elgar. Though not so designated by the composer, it is a symphonic poem in the tradition of Franz Liszt and Richard Strauss. It portrays Sir John Falstaff, the ""fat knight"" of William Shakespeare's ""Henry IV"" Parts 1 and 2. The work was well received at its première in 1913, but did not inspire the great enthusiasm aroused by some of Elgar's earlier works. The composer thought it his finest orchestral piece, and many Elgar admirers agree, but it has not"
"Falstaff Sir John Falstaff is a fictional character who is mentioned in four plays by William Shakespeare and appears on stage in three of them. His significance as a fully developed character in Shakespeare is primarily formed in the plays ""Henry IV, Part 1"" and ""Part 2"", where he is a companion to Prince Hal, the future King Henry V. A notable eulogy for Falstaff is presented in Act II, Scene III of ""Henry V"", where Falstaff does not appear as a character on stage, as enacted by Mistress Quickly in terms that some scholars have ascribed to Plato's description"
"character in the original versions of William Shakespeare's plays ""Henry IV, Part 1"" and ""Henry IV, Part 2"". Objections from descendants of the historical John Oldcastle, a Protestant martyr, appears to have been responsible both for the writing of the corrective ""Oldcastle"" play and the alteration of Oldcastle to Sir John Falstaff in later versions of the ""Henry IV"" plays. Also, Wilson has been proposed as a possible author of several anonymous Elizabethan plays, including ""Fair Em"", ""The Pedlar's Prophecy"", ""A Larum for London"", ""Look About You"", ""Sir Clyomon and Sir Clamydes"", and ""A Knack to Know a Knave"". As"
"system, 3.1.55 means act 3, scene 1, line 55. Prologues, epilogues, scene directions, and other parts of the play that are not a part of character speech in a scene, are referenced using Folger Through Line Number: a separate line numbering scheme that includes every line of text in the play. Falstaff Sir John Falstaff is a fictional character who is mentioned in four plays by William Shakespeare and appears on stage in three of them. His significance as a fully developed character in Shakespeare is primarily formed in the plays ""Henry IV, Part 1"" and ""Part 2"", where he"
"Julian Wagstaff Julian Wagstaff (born 1970) is a Scottish composer of classical music, musical theatre and opera. Born in Edinburgh, Wagstaff originally studied German language and politics, and graduated from the University of Reading in 1993. Wagstaff worked as a translator and interpreter in the German language before turning to music as a profession in the late 1990s. His interest in language and political history continues to be reflected in much of his music and in his theatre libretti. He came to public attention with the musical ""John Paul Jones"" (2001), based on the life of the Scots-born sailor and"
"principal fictional character is Sir John Falstaff, though he was originally given the name of the historical Sir John Oldcastle. His followers Bardolph, Nym and Pistol also recur, along with Mistress Quickly, the hostess of the Boar's Head Inn, where they meet. Hal's friend Ned Poins appears in both ""Henry IV"" plays. Minor characters such as petty-criminal Peto and bartender Francis also recur. Henriad Henriad is a common title used by scholars for Shakespeare's second historical tetralogy, comprising ""Richard II""; ""Henry IV, Part 1""; ""Henry IV, Part 2""; and ""Henry V"". The plays depict the destabilising effects of the violation"
"It has been adapted for the opera on several occasions. The play is one of Shakespeare's lesser-regarded works among literary critics. The play is nominally set in the early 15th century, during the same period as the ""Henry IV"" plays featuring Falstaff, but there is only one brief reference to this period, a line in which the character Fenton is said to have been one of Prince Hal's rowdy friends (he ""kept company with the wild prince and Poins""). In all other respects, the play implies a contemporary setting of the Elizabethan era, c. 1600. Falstaff arrives in Windsor very"
"John Oldcastle Sir John Oldcastle (died 14 December 1417) was an English Lollard leader. Being a friend of Henry V, he long escaped prosecution for heresy. When convicted, he escaped from the Tower of London and then led a rebellion against the King. Eventually, he was captured and executed in London. He formed the basis for William Shakespeare's character John Falstaff, who was originally called John Oldcastle. Oldcastle's date of birth is unknown, although dubious and possibly apocryphal sources place it variously at 1360 or 1378. His father was Richard Oldcastle of Almeley in northwest Herefordshire. His grandfather, also called"
"in Wagner's ""Götterdämmerung"" and Baron Ochs in Richard Strauss's ""Der Rosenkavalier"" at the Royal Opera House, Covent Garden. In 1921, he became a founder-member of the British National Opera Company. Allin created the role of Sir John Falstaff in Holst's 1925 opera ""At the Boar's Head"". In 1934, he appeared in the initial Glyndebourne Festival production under Fritz Busch and Carl Ebert of Mozart's ""The Marriage of Figaro"". Allin was perhaps best known to contemporary music-goers as a concert recitalist and an oratorio singer. He appeared before the Royal Philharmonic Society in a Royal Choral Society Beethoven ""Missa Solemnis"" in"
"appears, with his ""bride"", who is actually Falstaff's page, Robin. Fenton and Anne finally appear, and reveal to all that they are officially married. The opera ends with a chorus of reconciliation. Notes Sources Sir John in Love Sir John in Love is an opera in four acts by the English composer Ralph Vaughan Williams. The libretto, by the composer himself, is based on Shakespeare's ""The Merry Wives of Windsor"" and supplemented with texts by Philip Sidney, Thomas Middleton, Ben Jonson, and Beaumont and Fletcher. The music deploys English folk tunes, including ""Greensleeves"". Originally titled ""The Fat Knight"", the opera"
"of Martyrs"". Oldcastle was also a minor character in the early Elizabethan history play the ""Famous Victories of Henry V"" (c. 1586?), which is generally thought to have been one of Shakespeare's sources for his plays on Henry IV and Henry V. The genesis of ""Sir John Oldcastle"" is crucially linked to the fact that when Shakespeare's ""Henry IV"" plays premiered on stage in 1597–98, the character Sir John Falstaff was called Sir John Oldcastle. This is indicated by abundant external and internal evidence. The change of names, from ""Oldcastle"" to ""Falstaff,"" is mentioned in seventeenth-century works by Richard James"
"of Patay, and whom Shakespeare had previously represented in ""Henry VI, Part 1"". Fastolf had died without descendants, making him safe for a playwright's use. Shortly afterward, a team of playwrights wrote a two-part play entitled ""Sir John Oldcastle"", which presents a heroic dramatisation of Oldcastle's life and was published in 1600. In 1986, the Oxford Shakespeare edition of Shakespeare's works rendered the character's name as Oldcastle, rather than Falstaff, in ""Henry IV, Part 1"" (although not, confusingly, in ""Part 2""), as a consequence of the editors' aim to present the plays as they would have appeared during their original"
"Falstaff (Salieri) Falstaff, ossia Le tre burle (""Falstaff, or The Three Jokes"") is a ""dramma giocoso"" in two acts by Antonio Salieri, set to a libretto by Carlo Prospero Defranceschi after William Shakespeare's ""The Merry Wives of Windsor"". One of the earliest operatic versions of Shakespeare's play, Salieri's ""Falstaff"" is notable for a general compression and streamlining of the original plot, note the absence of the two young lovers, Fenton and Anne, and the addition of a scene in which Mistress Ford pretends to be German to charm Falstaff (actually two such scenes exist, one in a separate score by"
"others. Sir John Falstaff in Verdi's ""Falstaff"" has been one of Manolov's signature roles. He sang the role for his house debuts at the Hamburg Staatsoper (2010), the Hungarian State Opera (2013), and the Deutsche Oper Berlin (2014). It was also the role in which he made his Italian debut at the Ravenna Festival in 2013. The Ravenna production with Manolov as Falstaff, subsequently toured to Ferrara and other Italian cities and was revived at Ravenna in July 2015, conducted by Riccardo Muti, who brought the production and singers to Spain for performances at Oviedo's Teatro Campoamor later that month."
"""to combine the immediate quality of the Elizabethan with all the devices and techniques possible in the modern theatre."" The cast included Welles as Falstaff, Burgess Meredith as Prince Hal, John Emery as Hotspur, Morris Ankrum as Henry IV and Robert Speaight as the Narrator. The play's music was composed by Aaron Copland. Welles commissioned an elaborate revolving set to be built, but it was not completed during the five weeks allotted to rehearsals. Welles avoided attending the rehearsals or finishing the play's final script and instead often went out drinking and socializing with co-star Meredith, with the result that"
"in 1597, after which controversy over the original naming of Falstaff (he was originally the historic Sir John Oldcastle, which presumably did not please Oldcastle's descendants) forced Shakespeare to rename the character. It appears that the joke in V,v,85–90 is that Oldcastle/Falstaff incriminates himself by calling out the first letter of his name, ""O, O, O!,"" when his fingertips are singed with candles—which of course works for ""Oldcastle"" but not ""Falstaff."" There is also the ""castle"" reference in IV,v,6. 18 January 1602 was the date the play was entered into the Register of the Stationers Company. The first quarto was"
"and narrated a series of non-fiction audio books, including ""Shakespeare His Life and Work"" which won the 2001 Benjamin Franklin Award for best audio non-fiction book. Weston was educated at Alleyn's School, Dulwich, during the time that Michael Croft, founder of the National Youth Theatre, was there creating drama of a very high standard. In 1956 Croft directed a school production of Shakespeare's ""Henry IV, Part 2"", which, when revived as a NYT production at the Toynbee Hall Theatre the following year, attracted the attention of the national press. Weston played Falstaff, a character singled out by ""The Times"" in"
"Anson's son George W. Anson, who became a notable actor, was born. In 1850 the company moved to Inverness. In 1853 John Anson and his family moved to London, where his first appearance was at Astley's Amphitheatre; he played there the Shakespearean role of Falstaff, and Bailie Nicol Jarvie in a dramatization of Walter Scott's novel ""Rob Roy"". In December 1857 his wife Barbara died of tuberculosis. He was involved with the Adelphi Theatre, which was managed by Benjamin Webster, for many years; he was treasurer of the theatre from 1859–71 and 1873–74. Anson took a great interest in the"
"to the king's noble companion before Agincourt. In the 1989 Kenneth Branagh version of ""Henry V"" he was played by Richard Briers, in a scene in which his execution occurred on screen. In the 2012 series ""The Hollow Crown"" he was portrayed by Tom Georgeson. His death is again depicted on screen. Bardolph (Shakespeare character) Bardolph is a fictional character who appears in four plays by William Shakespeare. He is a thief who forms part of the entourage of Sir John Falstaff. His grossly inflamed nose and constantly flushed, carbuncle-covered face is a repeated subject for Falstaff's and Prince Hal's"
"believe that John Clavell could not have written it, because they trace the date that it is written before 1630 (with the death of actor Richard Sharp) - before John Clavell traveled to Ireland. John Clavell and Shakespeare's Falstaff Some sources speculate that John Clavell was influenced by Shakespeare's character Sir John Falstaff from ""Henry IV"" as a source for ideas in ""A Recantation"". Both ""Henry IV"" and ""A Recantation"" reference Gad's Hill, the place of the robbery in ""Henry IV"", but there is no documentation of Clavell actually being at Gad's Hill. Clavell claims that the first robbery was"
"a player of eccentric character parts. The next year, he played at the Covent Garden in London with success. He traveled back and forth between the United States and Britain, achieving a reputation in the works of Shakespeare, particularly Falstaff. As a manager and impresario, he is remembered, among other things, for having engaged the troupe of Italian opera singers who formed the nucleus of the first season (1854–55) of the Academy of Music in New York City. After that, he appeared only rarely on the public stage. He was the author of ""Notes and Comments on Shakespeare"" (1863). He"
"the phrase ""anarchy ruled"". With the Royal Shakespeare Company, Sher took the title role in ""Tartuffe"" and played the Fool in ""King Lear"". His big break arrived in 1984, when he performed the title role in ""Richard III"" and won the Laurence Olivier Award. Since then he has played the lead in such productions as ""Tamburlaine"", ""Cyrano de Bergerac"", ""Stanley"" and ""Macbeth"", and in 2014 played Falstaff in Henry IV Part 1 and Henry IV Part 2 in Stratford-upon-Avon and on national tour. Most recently he has played the eponymous 'King Lear' from 2016-2018. He has also played Johnnie in"
"to write new operas per imperial contract until 1804, when he voluntarily withdrew from the stage. Of his late works for the stage only two works gained wide popular esteem during his life, ""Palmira, regina di Persia"" (Palmira, queen of Persia) 1795 and ' (Caesar on Pharmacusa), both drawing on the heroic and exotic success established with ""Axur"". His late opera based on William Shakespeare's ""The Merry Wives of Windsor"", ""Falstaff ossia Le tre burle"" (Falstaff, or the three tricks) (1799) has found a wider audience in modern times than its original reception promised. His last opera was a German-language"
"by interpolated music of his own, compelled Balfe to throw up his engagement at the theatre La Fenice in Venice. Balfe returned to London with his wife and young daughter in May 1835. His initial success took place some months later, with the premiere of ""The Siege of Rochelle"" on 29 October 1835 at Drury Lane. Encouraged by his success, he produced ""The Maid of Artois"" in 1836; which was followed by more operas in English. In July 1838, Balfe composed a new opera, ""Falstaff"", for The Italian Opera House, based on ""The Merry Wives of Windsor"", with an Italian"
"championed English opera rather than the Italian operas that had played earlier in the century. Composer John Barnett produced a number of works in the first few years of the theatre, including ""The Mountain Sylph"" (1834), credited as the first modern English opera. It was followed by ""Fair Rosamund"" in 1837 and ""Farinelli"" in 1839 (both at the Theatre Royal, Drury Lane), and ""Blanche of Jersey"" here in 1840. In 1841–43, composer Michael William Balfe managed the theatre and produced National Opera here, but the venture was ultimately unsuccessful. From 1844 to 1847 the theatre was managed by husband and"
"Antonio Scotti, who came to the Met from Europe in 1899 and remained on the roster of singers until 1933. Antonio Pini-Corsi was the standout Italian ""buffo"" baritone in the period between about 1880 and World War I, reveling in comic opera roles by Rossini, Donizetti and Paer, among others. In 1893, he created the part of Ford in Verdi's last opera, ""Falstaff"". Notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle (hailed as the most accomplished baritone of his generation), Victor Maurel (the creator of Verdi's Iago, Falstaff and Tonio in Leoncavallo's ""Pagliacci""), Paul"
"works in London and in Salisbury. Since ""Falstaff"" in 1956, a considerable number of operas by Giuseppe Verdi have appeared on the roster, including many of the lesser-known earlier works such as the 1847 version of ""Macbeth"" (in 2008); the original French version of ""I Vespri Sicilianni"", the 1855 ""Les vêpres siciliennes"" (1977 and 1999); and several others such as ""Aroldo"" (1993); and ""Jérusalem"" (1997). Musicians who have gained experience early in their careers by performing with the Group include Sir Simon Rattle, Sir Mark Elder, and Sir Roger Norrington, Dame Kiri te Kanawa, Sir Willard White, Sir John Tomlinson,"
"The Merry Wives of Windsor The Merry Wives of Windsor is a comedy by William Shakespeare first published in 1602, though believed to have been written in or before 1597. The Windsor of the play's title is a reference to the town of Windsor, also the location of Windsor Castle, in Berkshire, England. Though nominally set in the reign of Henry IV, the play makes no pretense to exist outside contemporary Elizabethan era English middle class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in ""Henry IV, Part 1"" and ""Part 2""."
"drawn up when George Carey, as Lord Chamberlain and patron of Shakespeare's company, was elected Order of the Garter in April 1597. If this is so, it was probably performed when Elizabeth I attended Garter Feast on 23 April. The Garter theory is only speculation, but it is consistent with a story first recorded by John Dennis in 1702 and Nicholas Rowe in 1709: that Shakespeare was commanded to write the play by Queen Elizabeth, who wanted to see Falstaff in love. This theatrical tradition was first recorded by Dennis in the prologue to his adaptation of the play, ""The"
"a counterblast to the negative depiction of the title character in the original versions of William Shakespeare's plays ""Henry IV (Part 1)"" and ""Henry IV (Part 2)"". Objections from descendants of the historical John Oldcastle, a Protestant martyr, appears to have been responsible both for the writing of the corrective ""Oldcastle"" play and the alteration of Oldcastle to Sir John Falstaff in later versions of the ""Henry IV"" plays. Known plays by Hathwaye, either singly or in conjunction with others, include: For the Admiral's Men, 1598-1602: For Worcester's Men, 1602-1603: For the Admiral's Men, 1603: Richard Hathwaye Richard Hathwaye (fl."
"which was part of the structural design. Some of the external decoration and one of the two very large bronze statues of lions sitting next to the theatre's monumental stairway entrance were created by Giovanni Rutelli's son, sculptor artist Sir Mario Rutelli. Construction started on 12 January 1874, but was stopped for eight years from 1882 until 1890. Finally, on 16 May 1897, twenty-two years after the laying of the foundation stone, the third largest opera house in Europe—after the Palais Garnier in Paris and the K. K. Hof-Opernhaus in Vienna—was inaugurated with a performance of Verdi's ""Falstaff"" conducted by"
"the Boston Center for the Arts with David Arnold in the title role, supported by Elizabeth Phinney, Pamela Gore, Frank Hoffmeister, and Ernest Triplett, with an English translation by Michael Auclair and scenery by William Fregosi. The conductor was Robert Willoughby Jones. Beethoven used the duet ""La stessa, La stessissima"" for a series of variations, WoO 73. Falstaff (Salieri) Falstaff, ossia Le tre burle (""Falstaff, or The Three Jokes"") is a ""dramma giocoso"" in two acts by Antonio Salieri, set to a libretto by Carlo Prospero Defranceschi after William Shakespeare's ""The Merry Wives of Windsor"". One of the earliest operatic"